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S K E N È Journal of Theatre and Drama Studies S K E N È Journal of Theatre and Drama Studies 4:1 2018 Transitions Edited by Silvia Bigliazzi SKENÈ Journal of Theatre and Drama Studies Founded by Guido Avezzù, Silvia Bigliazzi, and Alessandro Serpieri General Editors Guido Avezzù (Executive Editor), Silvia Bigliazzi. Editorial Board Simona Brunetti, Lisanna Calvi, Nicola Pasqualicchio, Gherardo Ugolini. Editorial Staff Guido Avezzù, Silvia Bigliazzi, Lisanna Calvi, Francesco Dall’Olio, Marco Duranti, Francesco Lupi, Antonietta Provenza. Layout Editor Alex Zanutto. Advisory Board Anna Maria Belardinelli, Anton Bierl, Enoch Brater, Jean-Christophe Cavallin, Rosy Colombo, Claudia Corti, Marco De Marinis, Tobias Döring, Pavel Drábek, Paul Edmondson, Keir Douglas Elam, Ewan Fernie, Patrick Finglass, Enrico Giaccherini, Mark Griffith, Stephen Halliwell, Robert Henke, Pierre Judet de la Combe, Eric Nicholson, Guido Paduano, Franco Perrelli, Didier Plassard, Donna Shalev, Susanne Wofford. Copyright © 2018 SKENÈ Published in May 2018 All rights reserved. ISSN 2421-4353 No part of this book may be reproduced in any form or by any means without permission from the publisher. SKENÈ Theatre and Drama Studies http://www.skenejournal.it [email protected] Dir. Resp. (aut. Trib. di Verona): Guido Avezzù P.O. Box 149 c/o Mail Boxes Etc. (MBE150) – Viale Col. Galliano, 51, 37138, Verona (I) Contents Silvia Bigliazzi – Preface 5 The Editors Guido Avezzù – Collaborating with Euripides: Actors and 15 Scholars Improve the Drama Text Silvia Bigliazzi – Onstage/Offstage (Mis)Recognitions in The 39 Winter’s Tale Miscellany Angela Locatelli – Hamlet and the Android: Reading 63 Emotions in Literature Roberta Mullini – A Momaria and a Baptism: A Note on 85 Beginning and Ending in the Globe Merchant of Venice (2015) Clara Mucci – The Duchess of Malfi:When a Woman-Prince 101 Can Talk Lilla Maria Crisafulli – Felicia Hemans’s History in Drama: 123 Gender Subjectivities Revisited in The Vespers of Palermo Maria Del Sapio Garbero – Shakespeare in One Act. Looking 145 for Ophelia in the Italian War Time Context Fernando Cioni – Italian Alternative Shakespeare. Carmelo 163 Bene’s Appropriation of Hamlet Carla Locatelli – “The trouble with tragedy is the fuss it 183 makes”: Reading Beckett’s Not I as the (non)End of Tragedy Special Section Valerio Viviani – Nashe’s (Self-)Portrait of a Town 201 Guido Paduano – Is Hamlet’s Madness True or Faked? 213 Rosy Colombo – Hamlet: Origin Displaced 223 Claudia Corti – À propos of King Lear in the New Italian 229 Translation and Edition by Alessandro Serpieri (Venezia, Marsilio, 2018) Eric Nicholson – A Double Dovere/Diletto: Using Alessandro 235 Serpieri’s Translations for Bilingual Productions of Shakespeare’s Plays Alessandro Serpieri and Keir Elam – Eros in Shakespeare 247 Alessandro Serpieri and Pino Colizzi – Intervista a Prospero 253 - Interview with Prospero Alessandro Serpieri – Ouverture 289 Tomaso Kemeny – Qualche parola per Sandro - A Few Words for 293 Sandro Alessandro Serpieri and Keir Elam* Eros in Shakespeare Abstract This brief essay is a translation of the introduction to the volumeL’Eros in Shakespeare, ed- ited by Alessandro Serpieri and Keir Elam in 1988. In discussing the role of the passions in Shakespeare’s plays and poetry, it brings together considerations from semiotics, psychoanal- ysis, drama theory and early modern English history. These approaches are all pertinent to the analysis of the multi-perspective and performative language of Shakespeare’s plays. The essay also surveys the four Shakespeare conferences held in Taormina, under the direction of Ales- sandro Serpieri, between 1984 and 1987. Keywords: Shakespeare; passions; semiotics; psychoanalysis; early modern English history This brief essay is a translation of the introduction to the volumeL’Eros in Shake- speare, edited by Alessandro Serpieri and Keir Elam in 1988.1 The volume in ques- tion presents the proceedings of a conference held the previous year in Taormina. It seemed to me appropriate to translate this essay on its thirtieth anniversary, as part of the celebration of Sandro’s life and work. This choice was also encouraged by a recent article by Armando Massarenti in the Italian newspaper Il Sole 24 Ore, published on the occasion of the fourth centenary celebrations of Shakespeare. Massarenti’s reflections on Shakespeare’s “lessons of love and power” are prompt- ed by his re-reading of what he calls “a precious and now unfindable little book”, which he deems “a highly useful re-rediscovery, in this period of the 400th anni- versary celebrations of the Bard”. Massarenti writes, Serpieri and Elam underline the extraordinary modernity of [Shakespeare’s] conception of Eros, which ‘is tested against Plato, Ovid and Petrarch’ on- ly to find new, fruitful itineraries. In Shakespeare, ‘Eros runs everywhere… it is quest, game, play, performance, fiction, deception, disgust, formless spectre’, and not infrequently, as shown by the passionate plots that move Shakespearean heroes, ‘it can give rise to unprecedented violence and frus- tration, because the investment of desire can always be deformed into the most secret and disturbing psychic spectres…’ . Whether in the joyful dy- 1 See Serpieri and Elam 1988. The volume includes papers by Giorgio Melchiori, Jaqueline Rose, Agostino Lombardo, Barbara Arnett Melchiori, Giuseppe Galigani, Terry Eagleton, Silvano Sabbadini, Franco Marenco, Fernando Ferrara, Sergio Bonanzinga, and Maurizio Grande. * University of Bologna – [email protected] © SKENÈ Journal of Theatre and Drama Studies 4:1 (2018), 247-52 http://www.skenejournal.it 248 Alessandro Serpieri and Keir Elam namics of A Midsummer Night’s Dream, or in the intricate machinations of a Iago or a Pandarus, Eros runs everywhere and, if it runs, it often runs in circles. This translation endeavours to make the ‘rediscovered’ introduction available, thirty years on, to a new and wider readership. It is clearly an essay of its time, es- pecially in its primarily semiological discourse, but at the same time it addresses a theme – that of the passions in Shakespeare – that has certainly not lost any of its fascination, and that probably deserves closer analysis than it has received, in the meantime, in the critical literature. Above all, the essay reflects some of Sandro’s abiding critical and cultural interests, from semiotics to psychoanalysis, from dra- ma theory to intellectual history, all of which converge in the analysis of the multi- level and performative language of Shakespeare’s plays. The 1980s Taormina Arte conferences to which this introductory essay re- fers were a significant part of Sandro’s broader cultural engagement with Shake- speare’s plays and their translation and performance. We organized the first con- ference, in 1984, to accompany Gabriele Lavia’s celebrated staging, in the vast Greek theatre, of Hamlet in Sandro’s own excellent translation (Shakespeare 1982). Tom Stoppard was guest of honour of both the performance and the conference. The 1985 meeting offered, among other presentations, the then ongoing and un- published University of Florence research project, led by Sandro, on Shakespeare’s dramatization of his historiographical sources. The following year the theme of “Staging Shakespeare” brought together international artists of the calibre of Krzystof Zanussi, Leo De Berardinis, and Enrico Baj, as well as leading Shakespear- ian scholars, and was marked by Declan Donnellan’s highly innovative Cheek- by-Jowl production of Twelfth Night. The final conference, to which this essay re- fers, again accompanied the performance of a Serpieri translation at the Greek the- atre, in this case Lavia’s production of Macbeth (Shakespeare 1996). These events, at once scholarly and performative, underline Alessandro Serpieri’s unique com- bination of critical, theoretical and translational skills, and his multi-perspective commitment to understanding and presenting Shakespearian drama and poetry on page and stage.2 KE *** Introduction This volume presents the proceedings of the fourth conference on Shakespeare, or- ganized and hosted in Taormina in August 1987, within the framework of the an- nual Theatre Festival. The conference in question concluded at least the initial phase of the summer meetings dedicated by Taormina Arte to Shakespearean dra- 2 I wish to thank Alessandro Serpieri’s heirs, Chiara, Simone, Nicola, and Marco Serpieri, for permission to translate and publish this essay. Eros in Shakespeare 249 ma. It might be apt, therefore, to recall briefly the topics of the previous three meetings, and offer a summary of the overall conference debates and their central themes. The first conference, held in 1984, was dedicated to the topic of “the nostalgia of being” (Serpieri 1985), a nostalgia that can be discerned in works of the great dram- atist, as in other European artists of the time: nostalgia for a model of the world founded on a powerful symbolic and transcendental system that had sanctioned, for centuries, a general and shared cohesion of meaning. In post-Copernican civi- lization, marked by the first clear signs of the ‘new science’, knowledge tended to- wards relativism, towards the perspectival – and therefore variable – vision of sub- jects and events, and towards the multiplication of routes of signification and of communicative pacts. Of all this, Shakespeare was certainly one of the most acute and troubled interpreters, committed to seeking out and representing the new and more problematic relations of man with the world, but attracted,
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